*Natural Fight!*
Canon EOS300 + Ilford FP4+
Model: Chris
Texture: Adiantum raddianum
I only did a few shots of my model’s hands on this session a couple of weeks back, it was a trial more than anything. I find it amazing how expressive hand gestures alone can be. Definitely an avenue to explore further.
*Aluminium Back*
Fuji TX2 (XPAN) + Ilford FP4+
Model: Claudia
Plant Texture: Pilea Cadierei
I have used Pilea Cadierei, aka. Aluminium plant a fair bit in those double exposures. It’s such a wonderful texture, with the leaves marked by silver patterns. I hadn’t used it for a back yet. I quite like how this one works, the jumble of leaves superimposed over the jumble of arms and fingers.
*Blue Patterned Back*
Cyanotype
Model: Lara
Sometime in September I finally got hold of some cyanotype solution which allowed me to start this project, but way back in May or June I’d actually order the new Bergger Cyanotype kit. It finally arrived and even though I have a little bit of the solution I found here left I decided to give the Bergger solution a try. It’s a different quality of blue, and the yellows do wash out entirely (although I have tried « expired » paper coated with the Bergger solution yet). This one is probably a tad overexposed: on this paper the « whites » tend to wash out a little bit more. Still I like the impact of this picture a lot.
*Blue Shefflera Man*
Cyanotype
Model: Fox
I finally nailed it. After weeks of trial and error to get my exposure times right and figure out the yellow cast I was getting, it was a comment on the Alternative Photography FB group that gave me the solution. I was not coating my paper with cyanotype solution and then exposing it immediately as it was drying. For convenience’s sake, I was preparing a batch of paper at night, and using them in the next few days or weeks. Turns out that explains the prevalence of this yellow cast. In the next couple of days I’ll show you the new results, but this cyanotype here is the first one where I have deliberately used old paper to get that copper toning. It’s all about replicable results.
*Blue Briar King*
Cyanotype
Model: Barth
In a desperate attempt to figure out why I couldn’t get rid of the yellows in my cyanotypes, I tried a different paper, which had the virtue of being larger, hence better framing options using the outer cyanotype, and the vice of being super light, hence the crumpling (I now dry it flat to avoid that. It takes longer, but it works better…) This one came out nice, with deep blues and while the yellow is still there, it gives the whole thing a coppery feel that I find quite pleasant.
*Blue Flower Pixie*
Cyanotype
Model: Victoire
Of the first batch of prints I did with the proper cyanotype formula I finally got hold of, only this print came mostly white and blue (there’s a very slight copper tint, but it’s really faint.) I love how it fits the subject, and this flower pixie is made even more flowerish in this print.
*Leafy Silhouette in Blue*
Cyanotype
Model: Olivier
I’ve loved this photo from the very first studio session of Human Nature(s) even though the expected white background did not blow up. It has a Giuseppe Arcimboldo feel to it that I find quite compelling and I think the yellow/blue tones of the cyanotype actually enhance that.
*Patterned Youth in Blue*
Cyanotype
Model: M.
The yellow cast is still there in this one, but the patterns are nicely contrasted nonetheless, and I think it works great. Taking advantage of the fact my daughter isn’t a teenager yet, here. Once that happens, no more modeling for me!
*Patterned Youth*
Fuji TX2 (XPAN) + Ilford FP4+
Model : M.
When you cannot find models because of social distancing (and because the ones you know will pose are 10000 miles away), you work with those closest to you, so last week-end I shot textures on my wife and kids. My 8 year old daughter wanted to be silly at first, but took some serious and quite lovely poses in the end! Her skin and hair lack contrast for a truly striking effect, but that’s not her fault!
*Busy*
Fuji TX2 (XPAN) + Ilford FP4+
Model : Lara
One of the conclusions I drew from the first two sessions is that plant textures with small or haphazard leaves makes the portraits difficult to read. This is even more true when the textures are shot in the sun, creating harsh contrasts. Yet sometimes that business conveys an interesting, chaotic feel to the portraits.
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